Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Malaysia and from Manchester.
But I was there.
I was there in 1962.
I was there at the first Guess Who show in Winnipeg.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1963 to 1972.
I'm losing my edge.
To all the kids in Salvador and Toronto.
I'm losing my edge to the art-school Houston kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1968 at the first Can practice in a loft in Cologne.
I was working on the chamberlin sounds with much patience.
I was there when Robert Palmer started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Alphaville to the electroclash kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Lakeside. All the underground hits.
All Charles Mingus tracks. I heard you have a vinyl of every Vaughan Mason & Crew record on German import.
I heard that you have a white label of every seminal disco hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '80s.
I hear you're buying a guitar and a chamberlin and are throwing your macbook out the window because you want to make something real. You want to make a John Coltrane record.
I hear that you and your band have sold your marimba and bought a snare.
I hear that you and your band have sold your snare and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Pantytec,
Depeche Mode,
Jerry's Kids,
The Durutti Column,
Laurel Aitken,
Thee Headcoats,
Magazine,
The Moody Blues,
Yusef Lateef,
The Peanut Butter Conspiracy,
the Sonics,
The Cure,
Manfred Mann's Earth Band,
Desert Stars,
Ronnie Foster,
Subhumans,
The Fall,
Bang on a Can All-Stars,
Magma,
Gichy Dan,
Fort Wilson Riot,
Khruangbin,
Grandmaster Flash and the Furious Five,
Country Joe & The Fish,
The Happenings,
Gang Starr,
Pet Shop Boys,
Easy Going,
Bad Manners,
The Smiths,
the Soft Cell,
Avey Tare & Kría Brekkan,
Steve Hackett,
Nation of Ulysses,
The Men They Couldn't Hang,
Newcleus,
Youth Brigade,
E-Dancer,
Toni Rubio,
Delon & Dalcan,
Half Japanese,
Peter and Kerry,
Boogie Down Productions,
Black Flag,
Charles Mingus,
Heavy D & The Boyz,
Orchestral Manoeuvres in the Dark,
Crispy Ambulance,
Colin Newman,
This Heat,
Traffic Nightmare,
Lindisfarne,
Marmalade,
Rowland S Howard / Lydia Lunch,
Aaron Thompson,
The Modern Lovers,
Black Pus,
Q and Not U,
a-ha,
The Gap Band,
Stereo Dub,
The Cramps,
Sexual Harrassment, Sexual Harrassment, Sexual Harrassment, Sexual Harrassment.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.